The New Colonists, a project in three parts, begins by presenting the uncanny suburban town of Mars in Pennsylvania, USA. Steeped in midnight tones, her quotidian documentations of gas stations, football fields and fast food joints transport viewers to a time, place and feeling of all American life, but more importantly, human life. The work is imbued with a sense of western normality - whilst hinting to an otherworldly undertone beyond these images.

Interrupting the quietness of small town America captured in the book are 5 additional sequences of images, which are inserted into this suburban narrative, chronicling the research and individual scientists who are attempting to make colonising the red planet a reality.

Placed at key intersections in the book, Alcazar-Duarte’s contrasting documentary images capture everything from the top space travel technology in the European Space Agency, to the terrestrial ‘Mars Yards’, where robotic rovers are put through their paces in artificial landscapes of rock and sand. Meanwhile, would-be astronauts are tested against the rigours of a future Mars mission, confined for months at a time to enclosed habitats in inhospitable places such as polar deserts, Hawaiian lava fields, or even an industrial estate outside Moscow.

These efforts take place in the most down-to-Earth of locations and circumstances as well as the most sophisticated, but all of these scientists are, or will be, leading the construction of a new future in a far land.

The third component of the book consists of an “Augmented Reality Portal”. Using an app designed by Paul Ferragut, readers are invited to search for and discover embedded footage and sound within the book’s pages. Through this ‘portal’ viewers encounter a new knowledge. The videos feature 3-D animations of spy satellites and space colonies by Levan Tozashvili as well as narration from Dr Ian Crawford, Professor of Planetary Science and Astrobiology at Birkbeck. Within this interview Crawford presents his ideas on Space colonisation. And the notions of “space law” and “space ethics”.

The New Colonists celebrates the zeal, creativity and resilience of the people behind the initial efforts our society is making towards this next phase in History. It encourages us to look to the far future with eyes wide open, with an imperative need to resolve legal loopholes, allowing space exploration to proceed in a peaceful and balanced way.

"As well as focusing on this high-cost, high-stakes and high-tech endeavour, the book is also about the everyday, as embodied by the town of Mars, Pennsylvania.By examining these two seemingly opposite subjects, Alcazar-Duarte renders "normal" life strange and extraordinary, and the rarified world of science accessible an d fallible. The book's third layer is an "augmented reality portal" – an app designed to allow readers to discover information about space hidden in its pages." -Bruno Bayley, Vice Magazine

Publisher: Bemojake

Size: 177 x 240 mm

120 pages + 12 pp booklet, 80 full colour photographs

Monica Alcazar-Duarte
he New Colonists, a project in three parts, begins by presenting the uncanny suburban town of Mars in Pennsylvania, USA.

Liz named her daughter Lisa Marie, just like Elvis Presley’s daughter. French photographer Clémentine Schneidermann met Liz in Newport, Wales, a few miles away from the world’s largest festival to “the king”. Each year Liz joins tens of thousands of fans at the seaside resort of Porthcawl to celebrate the life and music of their icon, Elvis Presley.

From 2013 to 2017, Schneidermann joined too, creating portraits of fans Alison and her son, Steve, Samantha and Ian – among many others, for her series I Called her Lisa Marie. Schneidermann spent a lot of time with these people, using her camera to capture the poignancy of this flamboyant gathering where the life and music of the king offers a moment of solace.

Schneidermann is based in Cardiff, and travelled with the Alison and her son from Wales to where it all began in Memphis. She met the pair at the festival, where Alison’s son was performing under the stage name Johnny B. Goode. Schneidermann documented their pilgrimage across the Atlantic, creating Johnny B. Goode, a visual travel diary that is presented with I Called her Lisa Marie here in her first monograph.

Publisher: Chose Commune

Size: 250 x 250 mm

80 pages + 16-page leaflet

Clémentine Schneidermann
Liz named her daughter Lisa Marie, just like Elvis Presley’s daughter. French photographer Clémentine Schneidermann met Liz in Newport, Wales, a few miles away from the world’s largest festival to “the king”. Each year Liz joins tens of thousands of fans at the seaside resort of Porthcawl to celebrate the life and music of their icon, Elvis Presley.

Publishing the results of the most recent annual World Press Photo Contest, this exceptional book contains the very best press photographs from the year 2017 – pictures submitted by photojournalists, picture agencies, newspapers and magazines throughout the world. Selected from thousands of images, these prizewinning photos capture the most powerful, moving and sometimes disturbing images of the year.

Publisher: Thames & Hudson

Size: 244 x 190 mm

240 pages

Presents the results of the World Press Photo contest, described by the British Journal of Photography as ‘the premier competition for photojournalism and reportage’

Tokyo-ites are very proud of their peerless public transportation system, and rightly so. With the 2020 Summer Olympics fast approaching, Magnum member Mark Power was commissioned to photograph the maintenance of trams, buses and metro trains over a two-week period in October 2016. This book, which is largely Power’s own edit of his work, is the result.

Tokyo-ites are very proud of their peerless public transportation system, and rightly so. With the 2020 Summer Olympics fast approaching, Magnum member Mark Power was commissioned to photograph the maintenance of trams, buses and metro trains over a two-week period in October 2016. This book, which is largely Power’s own edit of his work, is the result.

A special edition limited to 100 copies. Includes a 7"x 5" signed & numbered print as well as the book.

In the month before the 2016 presidential election New Zealand photographer Harvey Benge spent time in San Francisco and New York making the images in this book.

In many ways these 59 photographs represent a time capsule – places, people and scraps of visual information – that is an affectionate and sometimes critical look at this mash up of a society that in October 2016 was at an existential watershed. This work does not pretend to be an objective look at America, it is simply Benge’s subjective view. The images are filtered through Benge’s own sensibilities, formed by his country’s own brand of politics where socialism is embraced and not a dirty word. And, of course, the states of California and New York present just one aspect of what it means to be an American.

There is no judgment here, just Benge’s desire to understand and attempt to tap into something resembling truth. There is a sense of profound sadness here too, of futility and a feeling that not much lies behind the fake news, the hard sell, or the glossy surface of things. Despite all of this there is resilience and resistance. Stoicism is in the air and there is a feeling that things will come right.

Well known for his many photobooks, Harvey Benge has twice been a finalist in the prestigious Prix du Livre at Arles Photography Festival, France. He has exhibited his work extensively in both public and private galleries in Britain, throughout Europe, and in New Zealand. Benge is also involved in curatorial projects and runs a series of ongoing photography workshops with international photographers at Auckland’s AUT University.

Publisher: Dewi Lewis Publishing

Size: 165 x 234 mm

64 pages, 59 colour photographs

Harvey Benge
A special edition limited to 100 copies. Includes a 7"x 5" signed & numbered print as well as the book.

In the follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turned his eye to another iconic body of water, Niagara Falls. As with his photographs of the Mississippi, Soth’s pictures of Niagara are less about natural wonder than human desire. “I went to Niagara for the same reason as the honeymooners and suicide jumpers,” says Soth, “the relentless thunder of the Falls just calls for big passion.” Working over the course of two years on both the American and Canadian sides of the Falls using a large-format 8x10 camera, the photographs are rigorously composed and richly detailed. Soth depicts newlyweds and naked lovers, motel parking lots and pawn shop wedding rings. Throughout the book, Soth has interspersed a number of love letters from the subjects he photographed. We read about teenage crushes, workplace affairs, heartbreak and suicide. Oscar Wilde wrote of the Falls, “The sight of the stupendous waterfall must be one of the earliest, if not the keenest, disappointments in American married life.” In Soth’s Niagara, we see both the passion and the disappointment. His pictures are a remarkable portrayal of modern love and its aftermath.

Publisher: Mack Books

Size: 275 x 320 mm

104 pages, 44 colour plates

Alec Soth
Due to publish September 2018. In the follow-up to his critically acclaimed debut monograph Sleeping by the Mississippi, Alec Soth turned his eye to another iconic body of water, Niagara Falls. As with his photographs of the Mississippi, Soth’s pictures of Niagara are less about natural wonder than human desire.

Dog’s Best Friend, A Pet Project marks Friedlander’s first monograph centering on his dogs--one of his career-long interests--and, in many instances, their relationship to their owners. From the publisher: “His pictures show the role these precious pets play in our day-to-day lives. We see dogs as companions, objects of affection, waiting alone in their gated yards, in parks, and in cars – the usual breadth of situation that Lee Friedlander is known for. Not much misses the roving eye of Friedlander... but this title is sure to delight as it is filled with the warmth and humor of the human condition as it interacts with the favored pet, all framed and juxtaposed in the stunning style of Lee Friedlander.”

Publisher: SPQR Editions, Brooklyn

Size: 9½ x 11½"

108 pages, 100 plates

Lee Friedlander
Dog’s Best Friend, A Pet Project marks Friedlander’s first monograph centering on his dogs--one of his career-long interests--and, in many instances, their relationship to their owners.

Built in 1928, ’Bwlch-y-Clawdd’ (Gap in the Hedge) is a mountain pass (450m) that connects the Rhondda Valley - In South Wales - to the town where I was born and still live, Bridgend. It is also connected to the Afan Valley via the A4107, which leads through to the coastline and industrial town of Port Talbot. The Bwlch road itself is the A4061, which stretches approximately 25 miles.

Not only did the pass offer a lifeline to the isolated valleys, and present greater job opportunities for the local people but it also provided an essential shortcut for valley based industry; predominantly coal related. My parents used the pass themselves to make their own move to Bridgend in 1966; starting their own business there shortly after.

Loosely based around nostalgia, ‘Gap in the Hedge’ reflects on a journey I used to make with my Mother to visit relatives in the Rhondda Valley, every Saturday when I was a small boy. It was my first taste of a road trip and I can recall almost every inch of the journey. I’d sit there in the front seat of my Mother’s little red car utterly absorbed and mesmerised by the forests, terraced houses and falling rock warning signs. The journey seemed to take forever, but we were only ever around 30 minutes from home.

This series not only attempts to document the beauty of this iconic piece of South Wales landscape, but also explores the relationship that the people - whether locals, tourists or workers - have with the landscape and environment. And ultimately, what lies ahead for this part of South Wales following Brexit and the abolition of EU funding. The immediate villages of Nantymoel and Cwmparc - both of which are former mining communities - either side of the mountain, are incorporated into the project, as the pair both sit in the shadow of ‘The Bwlch’.

Special Edition with signed limited edition print - £80.00

Special Edition limited to 50 copies.

Signed & numbered digital print approx 230 x 210mm

Publisher: Another Place Press

Size: 250 x 200mm

132 pages

Dan Wood
"Built in 1928, ’Bwlch-y-Clawdd’ (Gap in the Hedge) is a mountain pass (450m) that connects the Rhondda Valley - In South Wales - to the town where I was born and still live, Bridgend..."

Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher's Description

Before becoming the critically acclaimed filmmaker responsible for such iconic films as Dr. Strangelove and The Shining, Stanley Kubrick spent five years as a photographer for Look magazine. The Bronx native joined the staff in 1945, when he was only 17 years old, and shot humanist slice-of-life features that celebrate and expose New York City and its inhabitants.

Through a Different Lens reveals the keen and evocative vision of a burgeoning creative genius in a range of feature stories and images, from everyday folk at the laundromat to a day in the life of a debutant, from a trip to the circus to Columbia University. Featuring around 300 images, many previously unseen, as well as rare Look magazine tear sheets, this release coincides with a major show at the Museum of the City of New York and includes an introduction by noted photography critic Luc Sante.

These still photographs attest to Kubrick’s innate talent for compelling storytelling, and serve as clear indicators of how this genius would soon transition to making some of the greatest movies of all time.

Publisher: Taschen

Size: 267 x 330 mm

328 pages

Multilingual Edition: English, French, German

Stanley Kubrick
In 1945, at just 17 years old, Stanley Kubrick became a staff photographer for Look magazine. His humanist slice-of-life features celebrate his native New York City and already reveal a burgeoning creative genius.

Red Utopia is a non-propagandistic search for what is left of communism, 100 years after the Russian Revolution. The photographs show interiors of party offices and their iconography, as well as environmental portraits of party officials and activists: people who, unlike their colleagues in communist dictatorships, chose for membership of such a party out of a sense of conviction and free choice against the prevailing neoliberal trend. Red Utopia focuses on five “non-communist” countries where this ideology still plays a role of some (and sometimes remarkable) importance: India, Italy, Nepal, Portugal, and Russia.

Long before the Russian Revolution of 1917, communism was a source of inspiration for idealists and revolutionaries who sought a fairer society. The struggle between communism and capitalism was one of the main themes in recent history, certainly between 1917 and 1989.

The gritty experiences of real socialism, the fall of the Berlin Wall and the triumph of neoliberalism seemed to deliver the final blow to the communist ideology. Many communist parties were disbanded after 1989 or slowly bled dry. While the gap between rich and poor widened in many countries from the 80s on, the Free Market seemed to have become the only remaining ideology.

Publisher: Nazreali Press

Size

Jan Banning
Red Utopia is a non-propagandistic search for what is left of communism, 100 years after the Russian Revolution.

It’s late afternoon in the summer of 1969. We are in the outskirts of Glasgow and Gabriele Basilico is holding a Nikon F, shooting a single roll of film. He is in a state of grace, although nobody might then have known that this roll was to mark Basilico’s baptism as a photographer. He is struck by the Scottish kids, the terrains vagues, the 19th-century industrial archaeology. At the time he was just an architecture student interested in the British post-war new towns, in the social photography of Bill Brandt, but he had not yet shown a vocation for photography of his own. The volume, after Iran 1970 and Marocco 1971, completes the “Basilico before Basilico” trilogy and is accompanied by the texts of Umberto Fiori and Pippo Ciorra, and a testimony from Giovanna Calvenzi.

Publisher: Humboldt Books

Size: 170 x 210 mm

72 pages, booklet in the flap

Italian, English

Gabriele Basilico
It’s late afternoon in the summer of 1969. We are in the outskirts of Glasgow and Gabriele Basilico is holding a Nikon F, shooting a single roll of film. He is in a state of grace, although nobody might then have known that this roll was to mark Basilico’s baptism as a photographer.

“No Ruined Stone” by Scottish photographer Paul Duke offers a timely and far-reaching insight into a fractured and deprived housing estate in Edinburgh. Returning to Muirhouse — the backdrop to Irvine Welsh’s novel “Trainspotting“ — Duke’s documentary and poetical photographs lead us through the estate he grew up in. Although circumspect questions of social inequity are raised in the book the underlying narrative is about fighting spirit, dignity and hope of the residents living there today.

Paul Duke was born and educated in Edinburgh. He gained a Master of Arts degree with distinction from the Royal College of Art in 1989. As well as exhibiting in the Scottish National Portrait Gallery he has shown in the Scottish Parliament and was included in the National Galleries of Scotland landmark exhibition “Light from the Dark Room” in 1995. “No Ruined Stone” is his second publication after “At Sea”, published in 2013. The text is written by Martin Barnes, senior curator of photography, Victoria & Albert Museum, London.

The reprint of this hugely successful 2013 book coincides with a retrospective of the work of Vanessa Winship at the Barbican Art Gallery in London from June to September 2018.

In 2011 Vanessa Winship was the recipient of the Henri Cartier Bresson Award which funds an artist to pursue a new photographic project. For over a year Winship travelled across the United States, from California to Virginia, New Mexico to Montana, in pursuit of the fabled ‘American dream’. she dances on Jackson presents a conversation, a lyrical and lilting interaction between landscape and portrait exploring the vastness of the United States and attempting to understand the link between a territory and its inhabitants. For Winship this relationship is inextricable; places accrue particular meanings according to the people she meets, what she sees, and by what's happening to her personally. Each human encounter, sound and smell adds extra dimensions to her work and the resulting photographs.

she dances on Jackson marks a progression. Stylistically similar to her previous work using black and white film and a large format camera, Winship’s portraits remain arresting and unnerving but this body of work reveals her to also be a skilled landscape photographer. For Winship photography is a process of literacy, a path by which she understands life. Her intimate approach enables the reader to glimpse the world as she sees it, if only for a moment.

An intimate notebook of documentary work undertaken in Romania, exploring the country's landscape and integral connections its inhabitants have with nature. Martínez and Sáez travelled more than 6000km photographing mostly in rural areas, meeting with local people along the way. Their exploration encompasses winter through summer seasons, with the guiding theme that since the first inhabitants of Europe populated fertile Romanian lands, the spirit of Romanian society has been instinctively linked to the land.

Romania has a complex history where its people have struggled to claim territory, faced brutal oppression, communist nationalisation, and foreign exploitation of resources and agriculture. The central region of Transylvania was claimed at the end of the First World War, extending the country’s wealth of natural resources from the border with Ukraine to the Danube Valley. Industrialisation increased exponentially from the 1950s to 1980s and the effects had a massive impact on the economy, social progress, and the landscape. But Romanians have been resilient in the face of progress and adversity, and since the fall of communism in 1989 the country has seen an intellectual revival and a return to practicing long-held traditions. For over 15 years in a conflict in Roşia Montană, public administration and environmental organizations have confronted a mining company in a fight to keep their natural environment free from continued over-exploitation.

In The Tree of Life is Eternally Green, Martinez and Saez focus on identity and history from a perspective that transcends socio-political issues, and dispels stereotypes associated with Romanians. Their record is seeped in the natural environment and celebrates Romanian people, their traditions, the untamed landscape and the country’s rich flora.

In 1966, Joel Meyerowitz took an initiatory journey around Europe. Upon his return to New York, he submitted his project to the Head of Photography at MoMA, leading to his monographic exhibition My European Trip. Meyerowitz toured around Spain in 1966 an 1967 and took hundreds of pictures that comprise an exceptional document of 1960's Spain. He admits that this time in Spain was precisely what marked his creative turning point as a photographer-indeed this is the one period when he takes both colour and black and white photographs before fully turning to colour photography.

With over twenty new photographs, this revised edition of Roots (initially published in 2012 and quickly out of print) immerses us in the Belgium of the 1970s and 1980s. From the first black and white photographs to the revelation of colour, this publication explores the Belgium photographer’s singular, almost expressionistic, universe.

In a very personal text, accompanying his photographs, Harry Gruyaert comments on his relationship to Belgium. While an essay by the Belgium writer Dimitri Verlhust makes us truly live these photographs from the inside.

Isabelle Graeff (born 1977 in Heidelberg) became known in 2010 for her series My Mother And I. For this project she spent years accompanying her mother with a camera, in order to question the relationship between mother and child. The photographs for her project Exit now expand the search for identity to an entirely new country. Between August 2015 and June 2016 the London-based photographer observed with a compassionate eye the crisis of a country whose population has been painfully divided since the Brexit referendum at the very latest. A country divided between people whose gaze is directed outward and people who are looking inward. A country that has again begun a new search for an identity that already exists in all of its mystical beauty, because its nature remains untouched by social developments.

Graeff traces these upheavals, changes, and developments with her camera. The critic Niklas Maak has written an insightful essay about this, which contextualizes the images on various levels.

The Gamblers has been a long running project for Martin Amis, who has made pictures of racegoers over a number of years. RRB is pleased to be finally bringing this work to the public in book form in 2018.

Martin Amis’ photobook The Gamblers is the culmination of his long-term project photographing at racecourses across the South of England. The Gamblers is an affectionate portrait of the racing crowd, a well-informed tribe of racing enthusiasts, from a quirky mix of class and social backgrounds, who come together to find the next winner. Martin immersed himself in the racing crowds, camera at the ready, often betting himself as he sought his next subject. Despite covering so many races over more than a decade with a variety of cameras and shooting strategies, Martin has skillfully collected his images into a single story. Filled with moments of gentle humour, The Gamblers will take you from highs to lows, through moments of tension to the frenetic and jubilant energy of the holding the winning slip. “One of my fondest childhood memories is my regular trips to the races with my father. I loved to watch the horses race, but I loved even more to watch the motley cast of characters betting on them. The stench of beer and tobacco would fill the air, bookmakers’ chants of the latest odds cut through the gamblers lively conversations as I helped my father place his bets. I loved every moment and continued to gamble and enjoy horseracing into my adult life. As a photographer, it was a very obvious subject to focus my camera lens upon. - Martin Amis

Publisher: RRB Publishing

104 pages

Martin Amis
The Gamblers has been a long running project for Martin Amis, who has made pictures of racegoers over a number of years.

Errance consists of vertical black and white photographs of empty, unidentifiable roads and places. The format restricted Raymond Depardon to taking certain photographs and not others, and to moving away from the people he met during his travels. However they are not landscape pictures either. “They are stills from an imaginary film that could have been made. Only instead of being horizontal, this movie’s screen would be turned on its end.” A sort of corridor with too much sky and too much ground that reveals a viewpoint without deforming it.

Irina Popova is a documentary photographer and curator known for her special interest in the subjects of privacy, sincerity, and marginality. She gained notoriety for her documentary series about two young drug addicts and their baby living in squalor in a St. Petersburg squat. Published in 2017 by Dostoevsky Publishing, Amsterdam, this is the second version of her 2014 photobook, ‘If You Have a Secret’. Besides its vivid, colourful portraits, the new edition has a different design, double-folded “secret” pages, and other intriguing features. Only about three quarters of the photographs are the same as in the previous edition, and the texts have also been revised and re-edited.

Publisher: Dostoevsky Photography Society

136 pages

Irina Popova
Irina Popova is a documentary photographer and curator known for her special interest in the subjects of privacy, sincerity, and marginality.